Issue Eight April 2017 (Poetry, Fiction & Art) SONIC BOOM

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Issue eight April 2017 (Poetry, Fiction & Art) SONIC BOOM

…for writing that explodes

Issue Eight

April 2017

(Poetry, Fiction & Art)

Founder/Chief Editor: Shloka Shankar

Poetry Editor: Shobhana Kumar

Webmaster: Dwarakanathan Ravi

Proofreader: Dishika Iyer

Cover Art: ‘Five Birds’ by Phil Openshaw

All rights revert to the authors/artists upon publication. For re-prints in future, please credit Sonic Boom as the original publisher. Works may not be reproduced in any manner or form without prior consent from the individual artists.

http://sonicboomjournal.wixsite.com/sonicboom CONTENTS

EDITORIAL 5

THE POETRY SHACK 6-17

The Year of the Dragon by Amber D. Tran 7 Underwater attraction by Eddie Donoghue 8 Theodicy by Gary Glauber 9 What Is Death? by Jennifer Met 10 A Sonnet from 555 by John Lowther 11 Story by Matt Dennison 12-13 Painting Diego’s Feet by P. C. Vandall 14 Pair of Dice by Robert Beveridge 15 Shopping for Pomelos at Central Market on Chinese New Year by Robert Flinn 16 Ida Sessions, Method Actress by Todd Mercer 17

PAPER LANTERNS 18-25

Michael Stinson Helen Buckingham Jay Friedenberg William Scott Galasso Ben Moeller-Gaa 19

Hansha Teki Marietta McGregor Elmedin Kadric Helen Buckingham Marianne Paul 20

David J. Kelly Nika Johannes S. H. Bjerg Christina Sng S. M. Kozubek Billy Antonio 21

Gabriel Bates Johannes S. H. Bjerg Hansha Teki Tom Montag David J. Kelly 22

Michael Dylan Welch Maeve O’Sullivan Elmedin Kadric Susan Beth Furst Gregory Longenecker Robert Kingston 23

Elmedin Kadric Marilyn Fleming Gabriel Bates Jennifer Hambrick Hansha Teki 24

Maria Corado Mark Gilbert Jennifer Hambrick Peter Jastermsky Susan Burch Marianne Paul 25

FICTION 26-31

Kenosis by Hansha Teki 27 Crowd Control by Jennifer Hernandez 28 A Discussion in Form by Jennifer Met 29 Keyholes by Johannes S. H. Bjerg 30 I'll Eat Your Angst by Kyle Hemmings 31

VISUAL ART 32-53

Break Sky by Kyle Hemmings 33 NYC 59th St Bridge by John McCluskey 34 Cubism by Olivier Schopfer 35 Battery Park I by Kyle Hemmings 36 NYC 44th St Construction by John McCluskey 37 Summer’s End by Olivier Schopfer 38 A book of stories by Phil Openshaw 39 Haiga by Marianne Paul 40 Psychasthenia by Pragya Vashishtha 41 night wind by Nika 42 Netherworld by Dawn Nelson Wardrope 43 Unsubmersible by Pragya Vashishtha 44 Tanka art by Leslie Bamford 45 The Wordsmith by Dawn Nelson Wardrope 46 G O by Andrew Topel and Diane Keys 47 Glitchasemic 6468 by Marco Giovenale 48 Shirtfog by John M. Bennett 49 duet in G major by Andrew Topel and Diane Keys 50 Other As Explored through Rorschach Metaphor and Simile by Jennifer Met 51 melting sea ice by Debbie Strange 52 Ratnasambhava by Gregory Autry Wallace 53

CONTRIBUTORS 54-58 EDITORIAL

Every four months we issue out a call for submissions in the hopes of receiving some knockout work, and every single time, we have been blown away by the talent out there. It is an extremely humbling process to sift through hundreds of submissions and find the gems that will go into our little treasure-trove.

Issue Eight has been no different. Just when we begin to think it can’t get any better than the previous issue, you prove us wrong. A happy kind of wrong, that is. We have curated some of the most brilliant pieces that showcase each artist’s unique voice, style of writing, and the sheer power to engage our dear readers.

As always, we have attempted to deliver a little something for everyone in this issue. The Poetry Shack features exemplary experimental poetry from both established and newer voices, while the Paper Lanterns section showcases a dash and sprinkling of freshness in the form of haiku, senryu, tanka, and our first cherita. The Fiction section contains a curious combination of hybrids, haibun, and minimalist writing. And to round it all off, the Visual Art section brings together urban landscapes, visual poetry, and artwork in a variety of media.

We would like to thank our contributors for all their support and for giving us the honour of featuring their work. So, dig in, already!

- Shloka Shankar

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THE POETRY SHACK The Year of the Dragon

By Amber D. Tran

My mother’s history is elastic.

A branded antiquity with teeth.

Fostered under thick, freckled skin.

She waits in kaleidoscopic postures.

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Underwater attraction

By Eddie Donoghue

underwater attraction— the proximity of sunken things, how we drift & roll-around blanketing parts of each-other too tired to be —never close enough, only fluid interaction of retinue, the next increment of survival cruel & translucent, a small window perhaps but through which still so un- explored this choreography shifts with the whim of glowing rocks (—) playing with the idea of depths managing the constancy of hunger

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Theodicy

By Gary Glauber

Curious to a fault, she has needs: geographical, historical, political. A tall desire to fix & amend inexorably.

She signs petitions, joins fifth column, learns to echo sentiments old books proclaimed with made-up names & secret strategies. Grows a unilateral heart to salve the beating.

Anything now to quell lies of conquest, caress hardened future with tenderest past. She’ll watch waves breaking this border derision like reasons expanding, husk shorn to seed.

A silvery gown, an embroidered veil, & a hatful of questions. Handwritten index cards record the pilgrim’s journey. She knows no answers except to gather together, united in grateful isolation.

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What Is Death?

By Jennifer Met

my mother shields too young eyes— a curtain of snow

(ghostly) white upon white but all along we knew the shape of the mailbox—the trees

(ghosts) of dropped pine cones underfoot— the earth uneven cracking turning ankles

(ghostly) and all along we knew the shape of gravestones—of winter

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A Sonnet from 555

By John Lowther

I’m expressing my hatred of you through abstract art. The picture is definitely in my eye, but I am also in the picture. Simple subject, yet somehow visually pleasing—to me at least. It belongs in the clawed embrace of the undead amphetamine god. Because it annoys me.

Every concept arises from the equation of unequal things. Of course, disavowal is a part of what is in play. It may be that, sooner or later, it all blows apart. This strikes me as particularly useful and urgent today. It's a cold universe.

Sweet not thingness.

Note: These 555 sonnets are made with found lines and precise measures, a database and text analytic software. I crunched Shakespeare’s sonnets for word, syllable and character averages and these are my new measures. The lines’ oddities are their own, the arrangement is mine. After the text analytics and data entry, many ways of assembling are found. I hold to the turn (when I think of it) and that sonnets are poems of a certain size, but little more. Something in excess of the lines pass through, it’s that I’m chasing.

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Story

By Matt Dennison

But if I told you a story let me tell you a story settle down warm— tell me where to go what to do but this is not it is not the story and the lost poem of mother wandering in the fumbling snow is lost.

Bundled up overcoat men's boots dark hat and I cannot follow.

Black snow, occasional horses and no release from this world.

Wandering lost away from me in the white tooth snow I would find you if I could and carry you within my mittened hands to the fire.

I think it was confusion kept us quiet, silent as rain in a self-held mind.

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Clutch tight we did our ghostly selves to doll-cloth hearts while the storm raged on.

(Looking out the window: dry-lightning bed-clothes, fingers curled over the sill, transfixed by the distance within.)

Let us take it back, realize the path of evil for what it is: coeval.

Cease to be murderous; return.

The professional of death, minister to failure, allows my witness of concern, of touch near death's pure crime: muddy, vivid astonishment of love.

Human effort: the most God allowed.

I stare. Did they stare at me?

O I, O we could have been large.

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Painting Diego’s Feet

By P. C. Vandall

Feet, why do I want them if I have wings to fly? – Frida Kahlo

In the mourning, the trees are silent, the branches bare as feet. She takes pains to wash them, polishing them with pumice, anointing them in oil. She is bent over him, her spine an iconic column crumbling down legs to the rubble where feet turn green as Spanish moss hanging down from the Hawthorne trees. She pictures him with Picasso’s cubist toes and plants her prickly pear heart beneath his sole. She paints oil on copper, grinds up pigments of parrots and canaries. He’s the stag in the woods, the wind taunting her, the earth thrumming between her thighs, calling her home like elephants trumpeting her ascent to the blue house in the Coyoacan sky.

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Pair of Dice (after Tadić)

By Robert Beveridge

You rolled two dice of obsidian onto the gameboard before you realized their sides were unmarked with numbers, scratches, pips. One landed nestled up against the dog you guided on the board. The other slid off the side of the table, hung suspended between game and floor. You looked at them and wondered whether you should move.

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Shopping for Pomelos at Central Market on Chinese New Year Phnom Penh, Cambodia 2017

By Robert Flinn

The pomelos are jade-green and stacked as precise as pyramids; perfect spheres of citrus and Asian mystery; the vendors tell me they possess secret powers of good fortune and wealth; at that moment the universe bursts open for a nano second, and I see all and nothing; maybe that’s the essence of enlightenment, a flash of wisdom and confusion conjoined like twins among the stars and planets, giving us a fleeting look at true knowledge, or is it simply déjà vu, like meeting the strangers at Sartre’s bus stop again, that existential split between clarity and complication, when all things become questions without answers, a kaleidoscope of mirrors and colored glass, with veiled reflections and constantly changing patterns.

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Ida Sessions, Method Actress

By Todd Mercer

To act— the verb— that’s my work. It’s not passive. See? I take what gigs they offer, play parts like a pro. I sometimes send money home. Project expectations on me, a screen for display. Am I her? Almost? Wish it.

Note: This poem is an ekphrastic interpretation of a character from the 1974 film Chinatown, written in the Fibonacci form that hinges in the middle.

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PAPER LANTERNS

deep space the corn grows as we speak

- Michael Stinson

insomnia a shoulderful of crushed stars

- Helen Buckingham

beyond control the milky way’s spiral arm

- Jay Friedenberg

thunderstorm was it something I said or merely thought

- William Scott Galasso

shooting star i reshuffle the tarot

- Ben Moeller-Gaa

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petrichor a snail practices our absence

- Hansha Teki

mud muddies into rainhammer on the anvil of a skull

- Marietta McGregor

here lake my voice by pencil

- Elmedin Kadric

rocks paper river

- Helen Buckingham dry spell m-i-s-s-i-s-s-i-p-p-i river

- Marianne Paul

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another day of putting my life in dharma’s way

- David J. Kelly

child's pose collapsing into infinity

- Nika

it’s a knot like grief untangling the psalm on your knees

- Johannes S. H. Bjerg

the gravity of disrespect drain flies

- Christina Sng

from fly to fly a tiny planet at war with eternity

- Johannes S. H. Bjerg

genealogy tree some buzzards perch

- S. M. Kozubek

c,e,n,t,i,p,e,d,e

- Billy Antonio

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winter night does anything happen if I don't experience it happening?

- Gabriel Bates

you could be you if if

- Johannes S. H. Bjerg

pine lesson it is what it is not

- Hansha Teki

not to think

about how it feels, but to feel it,

finding your way back home

- Tom Montag

average family the fraction of a child buries its goldfish

- David J. Kelly

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root-covered trail— the stump I pass worn at hand level

- Michael Dylan Welch

wandering poet's well its stone collar a lotus

- Maeve O’Sullivan

after my pen scribbles something like satisfaction

- Elmedin Kadric

in the slipstream mythoughtsfollowmythoughts

- Susan Beth Furst

music box somewhere inside yesterday

- Gregory Longenecker just the wind on the bottle top’s lip

- Robert Kingston

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only a fear of falling from a branch in autumn

- Elmedin Kadric

goatsbeard seed carried on a breeze... the wisdom of knowing how to bury oneself

- Marilyn Fleming

constant rainfall a stack of medical bills in the corner

- Gabriel Bates

newly planted garlic what he’s hiding

- Jennifer Hambrick

I am now in your third person also present

- Hansha Teki

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first dance we sashay into the depths of our modesty

- Maria Corado

erogenous zones waiting for the fog to lift

- Mark Gilbert

hysterectomy scars de-seeding a pomegranate

- Jennifer Hambrick

relaxing into who I've become waistband

- Peter Jastermsky

final frontier – navigating the ______in my life without you

- Susan Burch

urban quanta if nobody uses the phone booth, does it exist

- Marianne Paul

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FICTION Kenosis By Hansha Teki

Why was he looking up at the night sky? In the frost-crisped night of central Taranaki, when light was evanescent at best, he foot- crunched through a paddock to exteriorise the dark that had been suffusing him. What filled the night sky at that moment? Just stars. So cold was the air that the darkness was clear and starlight was breath-held in its stillness. The Southern Cross was risen there. Night-dew christened his beard. Was he seen? None knew of his presence there let alone the nature or length of his existence. What could he see? Only a chill arc of stars, a rainbow of night, creating its own light out of nothing. Why the tear? Because he could see as he is seen. Did this precipitate any change? He was strengthened to endure all that is still to come. Will he depict that night in words for others to see? He will learn how to do without words. at the end the beginning of the end

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Crowd Control

By Jennifer Hernandez

Stu (hands in pockets): Helluva thing. Had to come and see for myself. Can’t believe it. Something like this so close to home.

Roger (turning to face him): Heard it was a real mess here yesterday. A complete zoo. Cops had a heck of a time clearing the area after. That’s what I heard anyway.

Petey: I was off-duty. [He puts his foot up on the safety barricade.] Spent the afternoon at Chuck E. Cheese for my niece’s birthday. Missed all the excitement. The guys at the station filled me in. Hell, I’d rather be almost anywhere than Chuck E. Cheese, but from the sounds of it, I was the lucky one.

Linda (to Bev): Brought my camera. Not even sure why. Doesn’t seem right taking pictures. But it’s a piece of history, isn’t it? Right here in the neighborhood. Feels like I oughta document it somehow.

Bev (back to audience): I don’t know, Linda. Do you think the officer would even let you? Seems kind of morbid, if you ask me.

Steve (to himself): Why did I even come back here? Did I think it would be better today? Did I think she’d be here? In the sunshine. Waiting.

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A Discussion in Form: The False Dichotomy of Mind and Body

By Jennifer Met

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Keyholes

By Johannes S. H. Bjerg

The Man Who Talks so Very Loud has a secret. Or many. Rumour has it that he is an elf; a two meter, big mouthed large bellied elf who has treasures hidden away in pigeons and magpies – the unlikeliest of places as those birds are notoriously hard to get hold of and, if you do manage to catch one, they are difficult to open. Unless you butcher them, of course. still not completed winter

The Man Who Talks so Very Loud talks about the weather, the pain he once had in his left leg but which he walked away in an 8 hour walk, how he broke some of his front teeth falling over a cat and hitting a care-stone – them stones to whom (yes, ‘whom’) you tell your troubles and then they’re gone, the stones being portals to forgetfulness or a forgetting-room run by other elves nursing the troubles till they turn into something else, he talks about long walks and talks but not a word about his secrets. After all, they wouldn’t be secrets if … and he always ends his speeches with a lame joke more than 30 years old. as foretold travelling snow

The Man Who Talks so Very Loud has been missing from the landscape for a few days and now we all – people, pets, trees and the few flowers of the season – seem to move under water. Or in a daze. Something seems to be missing and the jackdaws and starlings are telling stories in his absence. It’s just that they’re all talking at once and as far as I can see they don’t have keyholes. dropping my needles in the pine’s lesson

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I'll Eat Your Angst

By Kyle Hemmings

At bus stops, or with our backs to antique shops, Zin & I dare each other to swallow Buttercups whole. Seemingly, not a big deal. But no chewing, she reminds me. The thought of sugar dissolves me. My throat tightens. You'll see, I tell her. I can still make distress signals with one hand. We hit Central Park, maybe play games in a row boat, sitting in the lap of calm water, reflecting everything as blue and green and white. Somewhere, I think, mothers are chasing their children's kites only to return home empty handed. Later, clouds will drift silently across the canvas of a dying afternoon. & Zin's been feeling empty since this guy from her World Religion class went too far after a party off campus. She said she was too drunk to fight, but now all she does is fight with herself. I try to keep her distracted: Baker Street puns, anecdotes about celebrities in tight shoes, the latest Indie flick at the Mercer Theater. James Franco is involved in a scandal with Wyona Ryder. She doesn't buy any of it; her eyes are adrift, blue sails down, boats lost halfway around the world. She announces that she will dive into the water, clothes & all, just to get a reaction from strangers, just to see who, if anyone, will save her.

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VISUAL ART Break Sky by Kyle Hemmings

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NYC 59th St Bridge by John McCluskey

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Cubism by Olivier Schopfer

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Battery Park I by Kyle Hemmings

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NYC 44th St Construction by John McCluskey

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Summer’s End by Olivier Schopfer

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A book of stories by Phil Openshaw

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Haiga by Marianne Paul

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Psychasthenia by Pragya Vashishtha

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night wind by Nika

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Netherworld by Dawn Nelson Wardrope

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Unsubmersible by Pragya Vashishtha

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Tanka art by Leslie Bamford

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The Wordsmith by Dawn Nelson Wardrope

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G O by Andrew Topel and Diane Keys

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Glitchasemic 6468 by Marco Giovenale

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Shirtfog by John M. Bennett

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duet in G major by Andrew Topel and Diane Keys

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Other As Explored through Rorschach Metaphor and Simile by Jennifer Met

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melting sea ice by Debbie Strange

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Ratnasambhava by Gregory Autry Wallace

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CONTRIBUTORS

Amber D. Tran graduated from West Virginia University in 2012, where she specialized in lyrical non-fiction and contemporary poetry. Her debut novel, Moon River, was released in September 2016. She is the editor-in-chief of the Cold Creek Review. Her work has been featured in Calliope, Spry Literary Journal, Cheat River Review, and Visitant Literary Journal among others.

Andrew Topel has been exploring the verbal-visual field since 2002. He is currently at work editing the book, RENEGADE - an anthology of international visual poetry & language arts.

Ben Moeller-Gaa is a haiku poet who hails from St. Louis, MO. His work regularly appears in a number of haiku journals and anthologies. He is the author of two haiku chapbooks, the Pushcart nominated Wasp Shadows (Folded Word, 2014), and Blowing on a Hot Soup Spoon (poor metaphor design, 2014). Learn more about Ben at www.benmoellergaa.com. Billy Antonio is a public school teacher in the Philippines. His fiction and poetry have been published in both local and international magazines and journals. Some of his haiga, haiku, senryu, and tanka have garnered awards. He lives with his wife, Rowena, and daughters, Asiel, Sophie, and Felicity.

Christina Sng is a poet, writer, and artist. She is the author of two haiku collections, A Constellation of Songs (Origami Poems Project, 2016) and Catku (Allegra Press, 2016). In the moments in between, she finds joy in tending to her herb and bonsai garden. Visit her at christinasng.com.

David J. Kelly, despite his scientific training, has a fascination with words and the music of language. He especially enjoys writing Japanese short form poetry, and has had his work published in a number of print and online journals. Dawn Nelson Wardrope, after a twenty-year gap in the arts, has recently begun creating visual poems. She practices asemic writing and concrete poetry. Her work has appeared in Utsanga, Otoliths, and Renegade, and can also be found widely on Facebook. She lives in Scotland with her husband, son, and two greyhounds. Debbie Strange is a Canadian short form poet, haiga artist, and photographer whose creative passions bring her closer to the world and to herself. She is the author of Warp and Weft: Tanka Threads (Keibooks 2015) and A Year Unfolding (Folded Word 2017). Website: https://debbiemstrange.blogspot.ca.

Diane Keys has emerged as an acclaimed artist, visual poet, and performance artist through her involvement in the Eternal Network. She has produced a significant body of collage, collaborations, artist books and videos, among other creations. She is probably most widely known for her involvement in Trashpo (trash poetry).Website: http://dianekeys.blogspot.in

Eddie Donoghue is a New York-based artist whose poems have recently appeared in Bones, moongarlic E-zine, Section 8, Otoliths, and Chrysanthemum.

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Elmedin Kadric was born in Novi Pazar, Serbia, but writes out of Helsingborg, Sweden. He is a student of both longer and shorter forms of poetry, and an avid observer of everything else.

Gabriel Bates is a contemporary haikai artist from Pittsburg, KS. His work has been featured in several journals and he is currently working on his first chapbook of poetry. Keep up with him on Twitter (@falsepoetics) and look out for more of his writing at www.gabrielbates.blogspot.com.

Gary Glauber is a poet, fiction writer, teacher, and former music journalist. His works have received multiple Pushcart Prize and Best of the Net nominations. He champions the underdog to the melodic rhythms of obscure power pop. His collection, Small Consolations (Aldrich Press) is available through Amazon, as is a chapbook, Memory Marries Desire (Finishing Line Press). His next collection, Worth the Candle, is forthcoming from Five Oaks Press.

Gregory Autry Wallace is a poet, painter, and collagist living in San Francisco. His poetry and collages have appeared in Athena Incognito, Black Scat Review, BlazeVox, Danse Macabre, Clockwise Cat, and Five 2 One. He was a poetry editor for Ink Magazine and a founding editor of Oblivion Magazine. In addition, his paintings, collages, and assemblages have appeared in juried art shows.

Gregory Longenecker’s work has appeared in journals around the world. Currently on the editorial staff of the Living Haiku Anthology, Gregory was a co-judge in the Haiku Society of America’s 2016 Haibun Contest and contest chair for the Yuki Teikei Haiku Society’s Tokutomi Contest. Hansha Teki exists in his reflection; breadcrumbs of a self he broadcasts as he explores the labyrinthine undergrowth of presence, language, and consciousness. The trail of his breadcrumbs may be glimpsed at http://hanshateki.com

Helen Buckingham lives in Wells, England. Her work appears regularly in journals such as Bones, Frogpond, and Modern Haiku. Anthology credits include Haiku 21, Haiku 2014, and Haiku in English: The First Hundred Years. Among her solo collections are water on the moon, mirrormoon, and Armadillo Basket. Jay Friedenberg is a member of the Haiku Society of America and Spring Street Haiku Group in New York City. He has had his work accepted in numerous U.S. and international journals. In 2015, he placed second in the Gerald Brady Memorial Senryu and the Kusamakura International Haiku competitions.

Jennifer Hambrick is a Pushcart Prize nominee who has received numerous awards for her poetry. Her poems have appeared in the Santa Clara Review, Third Wednesday, Modern Haiku, Presence, and in dozens of journals and anthologies worldwide. She is also the author of the chapbook, Unscathed (NightBallet Press). Website: jenniferhambrick.com.

Jennifer Hernandez lives in Minnesota with her husband and three sons. She works with immigrant youth and writes for her sanity. Her recent works have appeared in Anti-Heroin Chic, Dying Dahlia, Mothers Always Write, and Yellow Chair Review, as well as Write Like You’re Alive (Zoetic Press).

Jennifer Met lives in rural North Idaho with her husband and children. Her first chapbook, Gallery Withheld, is forthcoming from Glass Poetry Press (July 2017). Nominated for a Pushcart Prize, a

Sonic Boom 55 finalist for Nimrod’s Pablo Neruda Prize for Poetry, and winner of the Jovanovich Award, she serves as Poetry Editor for the Indianola Review.

Johannes S. H. Bjerg is a Dane who writes in Danish and English simultaneously, and mainly writes haiku and its related forms. He is one of the editors of Bones: journal of contemporary haiku, and the sole editor of one link chain and the other bunny. A list of his published books can be found here: http://january-stones.blogspot.dk/p/books.html.

John Lowther’s work appears in An Atlanta Poets Group Anthology:The Lattice Inside (UNO, 2012), Another South: Experimental Writing in the South (U. Alabama, 2003), and Stone, River, Sky: An Anthology of Georgia Poems (Negative Capability, 2015). Held to the Letter (with Dana Lisa Young) is forthcoming from Lavender Ink.

John M. Bennett’s work can be found here.

John McCluskey has had poetry, short fiction, and photography published in various literary journals, including Jerry Jazz Musician, The Raven’sPerch, Third Wednesday, Quill & Parchment, The Red Booth Review, Lullwater Review, and Cradle Songs: An Anthology of Poems on Motherhood. His poem, “My Gray Child” from Cradle Songs, was nominated for a Pushcart Prize.

Kyle Hemmings lives and works in New Jersey. He has been published in Elimae, Smokelong Quarterly, This Zine Will Change Your Life, Blaze Vox, Matchbook, and elsewhere. His latest collections of poetry/prose are Scream (Scars.tv) and Split Brain available on Amazon Kindle. He loves 50s Sci-Fi movies, manga comics, and pre-punk garage bands of the 60s. Leslie Bamford is a published Canadian writer of stories, poems, and plays. Now retired, she often writes poems in her head while walking her energetic dog, with a camera around her neck. She has fallen in love with the combination of poetry and photography. Website: www.lesliebamford.com

Maeve O'Sullivan has published her haiku and poetry widely over the last twenty years. She has three collections with Alba Publishing: Initial Response (2011), Vocal Chords (2014), and A Train Hurtles West (2015). Maeve is a founding member of Haiku Ireland and the Hibernian Poetry Workshop, and also conducts haiku workshops. Twitter: @writefromwithin

Marco Giovenale (differx) lives and works in Rome. He’s among the founders & editors of gammm.org. He’s the author of books and ebooks of experimental prose, asemic stuff, photography, and vispo. Websites: http://slowforward.wordpress.com , http://differx.tumblr.com. Maria Corado is an educator and a psychologist who believes words come from a beating heart and a living soul. It is true that she writes poetry in her spare time, but she does, too, even if faced with a sea of papers. When that happens, she realizes she is still alive.

Marianne Paul is a Canadian novelist who has transitioned to short-form poetry, primarily haiku, senryu, haiga, and haibun. She was the winner of the 2016 Jane Reichhold Memorial Haiga Competition (multi-media category) and the 2016 Haiku Invitational, Vancouver Cherry Blossom Festival. To view more of her work visit: www.literarykayak.com.

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Marietta McGregor is a Tasmanian botanist and journalist who lives in Canberra. Her haiku, haibun, and haiga appear in international journals and anthologies, and have been featured on Japanese television. She has gained poetry awards in Japan, the UK, the US, and Australia. She belongs to the Australian Haiku Society. Marilyn Fleming was raised on a farm in Wisconsin. It is from this small slice of life that she often draws her work from. Her poetry has been published in global journals and anthologies. She has a special interest in Asian poetry and won her first prize in the Hildegarde Janzen Oriental Forms Award in 1988. Website: www.marilynflemingpoet.wordpress.com

Mark Gilbert is based in the UK, and has been writing poetry and short fiction for over 20 years. His work may be found in such journals as Presence, Englyn, Skylark, and Abyss & Apex. He discovered Japanese-influenced poetry through the works of Jack Kerouac. Matt Dennison’s work has appeared in Rattle, Bayou Magazine, Redivider, Natural Bridge, The Spoon River Poetry Review, and Cider Press Review among others. He has also made videos with poetry videographers Michael Dickes, Swoon, and Marie Craven.

Michael Dylan Welch has had his haiku recited for the Empress of Japan, read at the Baseball Hall of Fame, printed on balloons, and etched in stone. His essays, reviews, haiku, tanka, and longer poems have appeared in hundreds of journals. Websites: graceguts.com and nahaiwrimo.com. Michael Stinson lives in the hills of Omaha Nebraska, nestled between the Missouri River and Great Plains. While he has written poetry and newspaper columns on and off since high school, it is within the last year he has focused on studying and writing haiku, haibun, and other short forms. Robert Spiess’s “A Year’s Speculations on Haiku” is part of his daily devotions.

Nika is the pen name of retired educator and haiku poet, Jim Force. Over the last year, he has teamed up with former high school friend, Jim McKinniss, to create haiga. Their work has been published in a variety of online publications.

Olivier Schopfer lives in Geneva, Switzerland. He likes to capture the moment in haiku and photography. His work has appeared in numerous online and print journals such as Acorn, Bones, Failed Haiku, Otoliths, Presence, Right Hand Pointing, and Wild Plum. He also blogs at: http://olivierschopferracontelesmots.blog.24heures.ch/.

P. C. Vandall is the author of three collections of poetry: Something from Nothing (Writing Knights Press), Woodwinds (Lipstick Press), and Matrimonial Cake (Red Dashboard). Her next book of poetry debuts in 2017 with Oolichan Books. When she is not writing, she's sleeping. She believes sleep is death without the commitment.

Peter Jastermsky’s haiku and senryu have been featured in Under the Basho, Failed Haiku, and Hedgerow among other journals. His haibun have been published in Contemporary Haiku Online, Haibun Today, and KYSO Flash. Peter works as a licensed counselor and lives in California with his family, their cat and horse. Phil Openshaw is a photographer and artist who works within a wide variety of media including digital, audio /visual transformation, sound art, coding, calligraphy, printing, painting, and asemic

Sonic Boom 57 writing. Recent exhibitions include: Asemic Writing, Mappature del Contemporaneo, Asemic Writing: Offline And In The Gallery, and Asemic Tech at Punt Multimedia.

Pragya Vashishtha, who lives in India, is a 21-year-old engineering student and an artist by heart. A huge expressionist fan herself, her works feed on emotions and are a way to communicate and reach out to people who find solace in, and identify with these paintings.

Robert Beveridge is possessed of a weird sort of magic: every time he moves to a different major city, that city's baseball team wins a major championship ('69 Orioles, '79 Pirates, '93 Phillies, and '95 Indians). When he isn't writing poetry, he makes uncomfortable noises with machines (xterminal.bandcamp.com).

Robert Flinn holds an MFA in creative writing and is currently a professor of Creative Writing at Zaman University in Phnom Penh, Cambodia, where he teaches English. His previous poems have appeared in numerous literary journals, including The Asian Signature Review, Atom Mind, Microkosmos, The Beacon, and Vox. Robert Kingston resides in Essex, United Kingdom. He developed an interest in poetry in his early fifties, after entering a local competition. Two years on, he has found more enjoyment in the research and writing of Japanese short forms, focusing on haiku and tanka. S.M. Kozubek has contributed over 80 haiku, senryu, and tanka to many publications. A collection of his work can be read at http://www.livinghaikuanthology.com/poet-portfolios/312-k-poets/s-m- kozubek.html. His poetry chapbook, Beyond the Shore, is also available on Amazon. Susan Beth Furst is a poet and author who especially enjoys writing haiku. Her haiku have been published on Poetry Super Highway, Haikuniverse, and Voices Israel 2016 Anthology. She has also written a children’s book, Humpty Dumpty Cracks and All. Susan lives in Virginia with her husband and a canary named Mozart. Susan Burch is a good egg. Todd Mercer won the Dyer-Ives Kent County Prize for Poetry (2016), the National Writers Series Poetry Prize (2016), and the Grand Rapids Festival Flash Fiction Award (2015). His digital chapbook, Life-wish Maintenance, appeared at Right Hand Pointing. Mercer's recent poetry and fiction appear in 100 Word Story, EXPOUND, Literary Orphans, Split Lip Magazine, and Two Cities Review.

Tom Montag is the author of In This Place: Selected Poems 1982-2013, This Wrecked World, and The Miles No One Wants. He has been a featured poet at Atticus Review, Contemporary American Voices, Houseboat, and Basil O'Flaherty Review, and received Pushcart Prize nominations from Provo Canyon Review, Blue Heron Review, and The Lake. William Scott Galasso is the author of fourteen books of poetry, including Collage (New and Selected Poems), published in November 2012. Scott's latest haiku collection, Silver Salmon Runes, was just published on Createspace, (Amazon). His work has appeared throughout Europe, Japan, New Zealand, Australia, China, Canada, India, and the U.S.

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